This novel of a woman struggling to free herself from her confining domestic status consists mainly of the protagonist's introspections. Galdos examines the theme of liberty and seems to conclude, perhaps with some disillusionment at the results of the Revolution of 1868, that the individual is responsible for his or her own actions and achievement of personal freedom; by implication, he rejects the idea of collective social responsibility. The evolution in Tristana's understanding of freedom -- from her initial simple desire for personal independence to spiritual aspiration -- and the rejection of social and moral norms on the part of her foil, Don Lope, allow Galdos to explore various conceptions of liberty and their relationship to other important social and religious questions of the day.Galdos' style is ornate and figurative. He uses allusions to mythology, literature, and the arts to convey the manner in which the characters are trapped by culture and history. Tristana describes her situation through references to other doomed lovers, such as Dante's Francesca and the the unfortunate lover/victims of Don Juan, whose role is assigned to the aging Don Lope. Through Tristana, Galdos expresses an almost inevitable sense of the helplessness of these figures, and of his own characters, to escape from inherited social and cultural forces. Even Horacio, the artist who disregards conventional morality by taking Tristana as his lover, remains bound by the desire for conformity. He prefers to share her favors with another man than to face the ostracism of elopement: Oyo Diaz estas cosas con indignacion primero, con asombro despues, y lo unico que se le ocurrio decir a su amaba fue que romper cuanto antes aquellas nefandas relaciones, a lo que contesto la nina muy acongojado que era esto mas facil de decir que de practicar... Con todo, fuerza era dar un gran tiron para arrancarse de tan ignominiosa y antipatica vida. Horacio's proclaimed liberation from social mores reveals itself to be far weaker than his fear of society's disapproval, which constrains him even thought he does not believe in its moral validity.This is just one example of Galdos' interest in contemporary changes in or doubts concerning religion. For Tristana, the arts supplant the role of conventional Christianity. She becomes obsessed in turn with painting, theater, literature, and music; throughout the course of the novel these arts become increasingly central to her concerns, with human relationships undergoing a corresponding devaluation. Indeed, even life with Horacio appeals most strongly to her when he presents it in artistic terms, describing their future rural abode as if it were a painting. When Tristana's interest moves from painting to music, The painter Horacio also loses his place in her affections. Tristana's artistic yearnings are not meant to show her natural inclination for art, but rather her unfulfilled need for a higher spiritual meaning. This need was shared by many of Galdos' contemporaries, educated men who could no longer reconcile their Christian faith with the evidence of reason and science, but who also rejected the spiritual and emotional emptiness of materialism. Many of these individuals turned to philosophical systems to provide an ethical base.The general zeitgeist of uncertainty and flux caused by the social, political and intellectual changes occurring in Spain at this time is reflected by the changes in the opinions and goals of the characters throughout the course of the novel. Aside from Tristana, this is most overtly manifested in Don Lope, her guardian and suitor, who begins the story filled with confidence in his social and sexual position. At the beginning this patriarchal Don Juan possesses absolute control over his ward's actions, and to a great extent even controls her thoughts. For the first half of the novel he is certain that she and everything else in his life will behave exactly as he commands. Only during Tristana's severe illness and subsequent refusal to continue her role as his mistress does he being to be uncertain of his ability to regain her. At this point his treatment of her becomes kinder and more respectful, as he is forced to take her wishes and thoughts into account. After her recovery and their marriage he returns to a considerable degree to his paternal stance and earlier egoism, but their relationships retains some equality due to his realization that he is no longer young and could end his life alone and uncared-for. This personal fear returns him to the social fold as a married church-goer.This aspect of the novel is clearly influenced by contemporary changes in gender relations, which, in Spain as elsewhere, were being challenged by increasing demands for women's liberation. The protagonist's situation illustrates the plight of women who have no male defenders to provide for them or protect their virtue. Not only is Tristana forced to become Lope's mistress, but once placed in this spiritually destructive position, she quickly loses her concern for her virtue and embarks on an affair with a second man -- a man who also belittles her burgeoning intellectual interests and attempts to reposition her the mandated domestic role. The book ends ambiguously with the question, Eran felices uno y otro? ...Tal vez. This ambiguity may reflect Galdos' feelings toward the revolutionary project of his Generation of 1868, which, like Tristana's desires, went through rapid changes without achieving a clear success in its goal of delivering a new social order.
Първа среща с испанския класик Бенито Перес Галдос. Той е привърженик на реализма, което много ме изненада, и всъщност време два от неговите романи ("Тристана" включително)са филмирани от големия режисьор сюрреалист Луис Бунюел. Сравняват го също така със Сервантес и Юго. Той наистина е силно повлиян от тях без да е изгбули индивидуалния си стил. Що се отнася до Бунюел, той използва повода отново да поразсъждава над любимата си тема - религията. "Тристана" не е книга за религията, а по-скоро за творческия дух и изпитанията, на които е подложен чрез тялото. Главната героиня е сираче, отгледано от обедняващ и застаряващ идалго, който на всичкото отгоре я е превърнал в своя любовница. Без да става въпрос за физически тормоз, той упражнява над нея една изтънчена даже родителска тирания, пресичайки й всички възможни пътища към свобода и независимост. А тя точно това иска и запознанството й с младия художник Орасио освобождава изстрелва душата й в невъобразим полет и изважда на повърхността неподозирани творчески заложби, които смайват и двамата мъже белязали живота й. Тристана лети толкова високо, че в един момент и идалгото, който малко напомня на Дон Кихот, и художникът Орасио се оказват неспособни да я следват. И двамата изглеждат консервирани, обикновени и дребни хора с големи претенции на фона на възможностите и мечтите на Тристана. Драмата й обаче се превръща в трагедия, когато крехкото тяло я предава и в последствие успява малко по малко да сломи и силния дух и да й отнеме порива към възвишеното изкуство.Романът е написан на прекрасен и богат език, характерен за миналия век. (Преводът на български е изненадващо добър - изданието е на "Персей".)Това не е книга с прости изречения и елементарна пряка реч. Думите подготвят мисълта за обратите и още преди сюжетът да се е развил достатъчно.
What do You think about Tristana (1997)?
Buena novela que con fino humor, Galdós retrata unos personajes peculiares. En un principio es una novela feminista, pero con muchos toques de humor, de altos valores ideales sobre la desigualdad de la mujer en la sociedad y el trabajo.A esto se añade un amor romántico puro e idealista, pero a raíz de la enfermedad de Tristana todos los personajes sufren una transformación, que desemboca en un final sorprenderte e irónico. La película rodada por Buñuel, que es algo diferente a la novela, es una versión interesante con un final más cruel y cínico.Muy recomendables ambas obras.Mi nota: 7.
—Fausto
Triste historia, ésta. Tristana, cuyo nombre deriva de ''Tristán'' - según parece, Galdós elegía significativamente los nombres de sus personajes -, caballero mítico, ideal. Tristana sueña con ser algo grande y no se conforma con lo que el destino parece deparar a las mujeres en su tiempo, y a ella en particular. Tres cosas dicen que pueden ser las mujeres: devotas esposas, actrices de teatro o... esos elocuentes puntos suspensivos. A Tristana no le gusta ninguno de estos tres destinos, pero, a pesar de su jaula, está decidida a echar a volar. Descrita y definida desde un principio como ''señorita'' tan solo en el nombre, ''esclava'' en realidad de un viejo don Juan decadente, un hidalgo de tal, que en hidalguía se parece al famoso manchego de lanza en astillero, encuentra en el amor romántico e idealizado hacia un joven pintor una posible escapatoria del sátrapa que la domina. Entonces, las ambiciones personales y los sueños se van desatando uno tras otro, y pronto el mundo del joven pintor, otrora perfecto, se queda corto para Tristana. Ella no quiere casarse, ni depender del sueldo de nadie: vivirá de sus propios méritos, será escritora, pensadora, maestras de lenguas o pintora. La prosa de Galdós revolotea magníficamente a mitad de la novela, en las originales cartas que escribe la Tristana desatada. Entonces el destino le marca al fin el freno funesto, y la joven empieza a retroceder, conformándose cada vez con menos, precipitadamente y en línea descendente hasta reducirse al mínimo y desaparecer. El final no puede ser más oscuro e interrogante.Más allá de la lectura en clave feminista, ciertos críticos vieron aquí una denuncia de Galdós al clima social de la Restauración, con el aburguesamiento y el conformismo. Se acabaron los sueños progresistas de la Gloriosa Revolución.
—Raúl
Tristana de Benito Pérez Galdós es la historia trágica de una mujer, una alma noble, pero débil. La bella cautiva está llena de sueños que aunque poco definidos y constantes la colocan fuera de su época; precursora de pensamientos feministas en una tiempo de poca esperanza para el equilibrio social y los derechos de la mujer. Tirstana es casi un objeto, una muñeca, creada a la imagen de una dama japonesa educada para complacer al varón.La novela relata la vida de tres personajes principales y como la enfermedad de Tristana cambia sus destinos. Primero, el autor nos presenta a Don Lope Garrido a quien pinta como un personaje quijotesco, bueno, pero no del todo, noble de corazón, pero seductor de mujeres. Carcelero y ladrón de inocencia. Al final, viejo y deteriorado es un remedo de lo que fue en su juventud y sucumbe a sus propias patrañas.El segundo personaje es Tristana de Reluz, la inocente engañada, ansiosa de libertad, enamorada del amor, tentada por el conocimiento, ilusa y voluble, quizá. Al final es víctima de un revés del destino injusto y trágico.Horacio Díaz, el tercer personaje de importancia, es el galán joven que ha cautivado el corazón de Tristana. Un hombre con sus propios meritos, pintor y emprendedor, pero que al final termina siendo más una invención que un personaje real para Tristana.La enfermedad de Tristana y la amputación de su pierna, trunca literalmente el destino de todos. No sólo cambia la historia de amor, sino que frustra sus aspiraciones. Don Lope encuentra un nuevo propósito para su existencia y su rápida decadencia, Horacio vuela y encuentra otro destino. Tristana como una pájaro enjaulado al que le han cortado las alas (en este caso la pierna), encuentra la libertad en un destino confuso, sombrío y cambiante (rezandera solitaria) donde no ve realizado ninguno de sus ideales.La narración es en tercera persona y es espontánea, sencilla y ágil. Los personajes se expresan de acuerdo a su nivel social, así que hay matices de lo culto y lo vulgar (sirvienta). La novela tiene elementos de lo irónico y lo inverosímil que mantienen el interés del lector.
—Maritza Buendia
